TV REVIEW: Downton Abbey - Episode Two

There's all sorts of romantic entanglements going on at Downton this episode. We've got Lady Mary off gallivanting with Tony Gillingham, Charles Blake turns back up to throw a spanner in the works and then there's Cora flirting with Withnail, I mean Mr Bricker (this was the one I was rooting for - Cora needs a plot of her own goddammit! Also RICHARD E. GRANT). Then Bricker starts flirting with Isis the dog. God forbid! Oh and then there's Molesley and the thieving ladies' maid whose name I've not learnt yet, but I'm struggling to retain interest in that particular plot line.

And with love comes war, more specifically, Lord Grantham arguing with just about everyone he can reach with a booming voice and a shake of his head. The tone was set in an early mealtime which was less a luncheon, more a battle ground before dinner that evening became the dining room equivalent of the Western Front. Amongst the more trivial stuff is resisting Rose's attempts to get a wireless for Downton, but that soon gave way to the Lord and Branson going at it about whose politics were better. Everyone bristled beautifully when Branson mentioned the killing of Charles I in response to Lord Grantham's repeated accusations about the atrocities occurring in Russia. It's all delightfully polite but shots were most definitely fired.

I think Fellowes is missing a trick by not adopting the Hero versus Big Bad approach for a series. It may just be my liberal politics, but Branson is the unsung hero of the piece, fighting for justice and an end to the oppressive social class system that he has managed through the convenience of marriage to rise through. Clearly in opposition, the Big Bad could be Lord Grantham. I want to see Hugh Bonneville in full villain mode, tearing down any threat to the establishment and bellowing "BUT WHAT ABOUT THE CRICKET?!" in the faces of bewildered villagers.

Lady Mary's impending sexpedition with Tony Gillingham led to some beautiful comedy moments, both with Anna and Charles Blake who turns up all charming and mentioning sex to get her a bit flustered. But still, Gillingham's got his allotted week to prove he's the man for Mary. Contraception according to Lady Mary is wonderful; read a book and send your maid out for condoms. It's like the equivalent of your mate asking you to pop to the pharmacy for you because her parents are wandering around town, but with enforced societal servitude instead. I also loved the judgemental pharmacist; things haven't changed all that much apparently.

The much-anticipated meeting of Gillingham and Lady Mary was all awkward and not at all romantic. Doing the gentlemanly thing, Gillingham gets separate rooms connected by an adjoining door and allowing Mary to stay under her own name to not attract any suspicion. But this struck me as a little silly really. The manager's in on the arrangement and it's hardly going to take investigative skills to find out Gillingham was staying next door, put two and two together and get 'illicit sexual affair'. Apparently a scrumptious dinner was the going rate for a whole week of 'making love' in those days, so clearly interest rates in that respect haven't changed all that much either.

I could talk about Lady Edith's struggle to gain control over daughter Marigold, but I kept being distracted at those points. I am obviously sympathetic to her plight, but she needs a bit of spark about her. Bring back Gregson I say! Yes, I know he's likely dead at the hands of some proto-Nazis, but still, she was much more interesting when he was around (which goes entirely against my usual rage about women characters who are only defined by the men around them, I know). 

- Becky

Catch Becky's review of the previous episode here.

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TV REVIEW: Downton Abbey - Episode One

I've developed a rather love/hate relationship with Downton Abbey of late with its shoehorned historical context, clunky exposition and paper-thin characterisation. I've returned for this series in the hope that it might have been a particularly cranky mood that made me give up on it last time. As the first instalment progressed however, I realise it may not have just been me...

This episode finds the Downton gang reeling from the news that a Labour government is in power. We know this because we get a whole scene in the library in which the family talk about it all in nicely phrased pieces that let us know exactly what this means for this particular class. Lord Grantham thinks it's about the most apocalyptic thing to happen since the working class began demanding things in the first place, Mary uses it to wind him up and Branson's there to lend an air of 'working class hero' to the proceedings. 

Below stairs, we have a similar discussion from the servants' perspectives, once again divided between Carson's 'it's the end of all we know' attitude to Jimmy's enthusiasm for a Prime Minister who is representative of a different social class. It quickly fades into the background though once the more salacious plot developments take hold; Thomas is plotting (obviously), Jimmy is fending off the amorous attentions of Lady Astruther (a wickedly game Anna Chancellor) and Lady Mary is wondering how to know who to marry without trying to, ahem, test drive him first (does she not remember the last time she tried this, she ended up in bed with a corpse?). 

Oh, and there's a fire. But it's neither as dramatic or as spectacular as you might have hoped.

The historical context has always been used to hang plot points on from the moment Lady Sybil decided to become a not-very-committed suffragette to the arrival of the First World War. It's dropped on us with all the subtlety of a grand piano crashing through the library roof and comes across as a little insulting. But then again, Mr Fellowes is the man who also thought he needed to rewrite Romeo & Juliet because us poor people without expensive educations couldn't possibly understand Shakespeare in its original form. 

It may be that I was too enamoured with all the glamourous trappings of the Abbey and its inhabitants, but it felt at several points in this episode as if it was lurching into self-parody. Thomas loomed from shadows like a moustache-twiddling pantomime villain even more so than usual whilst the aforementioned contextual conversations may as well have been offered a companion history textbook in a sort of readalong game. I also get the increasing sense that these characters simply cease to exist when the camera isn't on them. Anna and Mr Baaates have a conversation about Lady Mary which seems to pause once their offscreen and just resume from where they left off in a scene taking place a day later. I don't expect to have a detailed update from each one on what they've been up to since they were last onscreen, but it would help to at least have a sense that they do something other than stand prettily until the plot requires them.

I make a point of never watching things 'ironically'; if I enjoy something, I'm more than happy to admit it. I still enjoy Downton. I love how completely unaware of its failings it is, how the characters might as well just freeze in one place until the camera is back on them and they can carry on their conversation (despite it being days/years since the first half of their talk) and I still love these characters. Despite the newer faces amongst the cast acting as largely ciphers of whichever issue Fellowes has decided to explore this week, the old guard are still as brilliant as ever.

It's the regular cast that consistently keep me interested, rising above even the dullest material (honestly, how many times can Daisy try to do something different only to be told not to by Mrs Patmore. Every. Damn. Series). Michelle Dockery still brings a lovely warmth to the icy cold exterior of Mary and her romantic woes once again form her storyline, but that's all right, because she clearly knows how to handle a farming business. Rob James-Collier may fall into moustache-twirling, but there's a great inner conflict to Thomas that looks set to be explored further than it has been before. Obviously, Maggie Smith is awesome too. I love any scene where she goes up against Penelope Wilton. 

And so it all begins again with a wiggle of a dog's bum and the usual upstairs/downstairs shenanigans that we've come to know and, in my case, begrudgingly love. However, one can't help thinking that when Lord Grantham announced at the end of this episode 'the entertainment's over', he might just be right.

- Becky

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TV REVIEW: Downton Abbey - Episodes Three and Four

This post contains major spoilers - please don't read if you haven't seen the episodes yet.

Dear reader, I've been really struggling to put down my thoughts on Downton's third episode. It was an episode that started out well enough. A country party was taking place at the Abbey; there was gambling, light flirting and a world famous singer came to stay in the form of cameoing Dame Kiri Te Kanawa. And then the episode came to a close with one of the most shocking scenes in the show's history as Anna was raped by Nigel Harman's Mr Green.

Suddenly, the rest of the episode fell away. It didn't matter that Mary was flirting with another man in the wake of Matthew's death. It didn't matter that Evil Edna was about to seduce a rather drunk Branson. It didn't matter that one of the most famous opera singers in the world was appearing on a Sunday evening period drama. Because Anna (one of the most beloved characters with frequently the darkest storylines) was raped.

Downton Abbey is no stranger to dark moments, the most recent of which saw Matthew apparently fly headlong from a car to his death. Before that, there was his paralysis after his service in the Great War or Sybil's untimely death after the birth of her child. William died slowly and in great pain after an explosion in the trenches. A returning soldier committed suicide. I could go on really because, despite the fact that Downton's most common association in the minds of the public is one of comfort, it is important to remember that there has been a dark streak in the series right from the beginning which began with the sinking of the Titanic. 

However, in all of these moments, however conveniently placed they might have been, they all felt essential to the developing plot. At no point did I ever think that Sybil dying was a shock tactic; it wasn't. It was a timely reminder of the historical period when medical knowledge wasn't what it is now. It has also proved essential in the development of Branson's character and his ongoing discomfort in a world in which customs and traditions are simply alien to him. 

In contrast, the rape scene felt cheaply constructed to exhibit the exact shocked reaction that it was clearly intended to do. The otherwise genteel proceedings in the rest of the episode was wrenched apart with the shocking violence of the scene. The deliberate combination of the operatic singing and Anna's screams as the scene's soundtrack was emotionally manipulative and frankly insulting to the viewer. Joanne Froggat's performance was, it must be said, outstanding and just as heartwrenching as it should have been. But the key to this scene was the development from it in the next episode.

Downton Abbey is one of the most-watched shows on television and this was a real opportunity to explore the issue of rape sensitively in a historical context that is removed enough from our own to allow for reflection. Instead, Fellowes has given us the most simplistic view of rape he possibly could; Green is your stereotypical 'bad' man who no-one knows, attacks Anna out of the blue and scarpers before there are any repercussions. To put it simply, and in awful terminology, this is a traditional rape where a man leaps out of the metaphorical bushes and forces himself on some poor unsuspecting victim. Rape is a far more complex issue and to not even delve into that, but to present it in such a base and simple way, is a terrible decision.

The fourth episode in the series' run may not have had quite the same shocking scene in one place, but the horrific treatment of female characters just kept on coming. Now I understand that this is taking place in a historical context and must therefore be considered as such, but really, so much was wrong with this episode that I don't even really know where to start.

Probably best to continue with the aftermath of Anna's rape. Anna is internalising the blame for the rape and Mrs Hughes tries to convince her to go to the police, but Anna refuses on the grounds that she is saving Bates. She's forced to sit next to Green at breakfast and does nothing to tell the truth of the situation to anyone. We're clearly being set up for the big dramatic fallout scene, a narrative development that will do nothing to silence the protests against this particular storyline. It's so frustratingly simple and doing absolutely nothing to challenge or explore. Anna is punishing herself. Nobody is punishing Green.

Elsewhere, there were plenty of secretive affairs going on all over the place that were of the morally questionable variety. Ivy and Jimmy were finally revealed to be kissing and Daisy started accusing Ivy of giving herself up all too easily. Nothing to Jimmy. Rose was seen dancing with the band leader of the jazz club, Jack, and admonished slightly for her forthright behaviour. Nothing to Jack. Edith finally has a dalliance with Gregson and returns to Aunt Rosamund's early in the morning who promptly rages at Edith for being so wayward. Nothing to Gregson. Then Mrs Hughes rains down fury upon Evil Edna who, after sleeping with Branson, is claiming she is pregnant in order to trap him into marriage. Branson gets a bit of an earful, nothing major.

It is this last narrative development that is definitely the most problematic. Granted, Branson is recognised as being at fault, though the blame is laid entirely at the feet of Evil Edna. Evil Edna is about as pantomimey a female villain as we'll get on Downton, but following on from the rape, her scene with Mrs Hughes was woefully insensitive. Not only does she embody the myths around women who exploit their sexuality to entrap men, but she is again another frustratingly simple character. There's not even an attempt to provide motive. Mrs Hughes was patronising and forceful, literally threatened to imprison Edna, hold her down and strip her naked to prove that she wasn't pregnant. Seriously Mr Fellowes? Did no one at any point during this process think that that might not be the best way in which to phrase this? 

Downton Abbey has carved a reputation for comforting Sunday night television that allows a cathartic cry once again at the untimely demise of a beloved character in amongst endless witticisms and fretting about dinner jackets. In these past two episodes though, there has been nothing comforting about it.

This is the last time I call for any madcap plot twists.

- Becky

You can read Becky's review of the second episode here.

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TV REVIEW: Downton Abbey - Episode Two

The pace at Downton has slowed of late, what with the passing of Matthew and the transformation of Mary into a beautiful walking corpse. Thankfully, the show itself isn't entirely lifeless, though it's still a little lacking in the madcap plot twist department.

I'll mention the Ivy-Alfred-Jimmy-Daisy-possibly now Rose polygon briefly because it happened but still failed to get me caring about it. I'm not even sure who likes who really, just that there seems to be a lot of furtive glances and whispering about it. I also add Rose in now because Jimmy accompanied them to the dance and then caught her dallying with her bit of rough before dinner. Jimmy was an interesting character last series when he was the target for Thomas' affections, but he seems to have been reduced to wallpaper so far. Maybe a fling with Rose will liven the place up? Give them both something to do? Romances on Downton have certainly started for less and yes I'm totally grasping at straws here because the episode left me very little to go on ok?

Speaking of potential romances, might there be a possibility of a Mary-Branson relationship in the offing? Or a Mary-Tom relationship... I'm with the Dowager, it's too difficult. Anyway, now that Dame Maggie has instructed Tom/Branson to be Mary's instructor in the ways of the estate, the pair are about to spend a lot of time together and in TV Land, that's tantamount to getting engaged. Not to mention all the knowing grins that Tom/Branson was exhibiting throughout the episode. 

Well there's that and the fact that it would royally get up Lord Grantham's nose, a man already campaigning fervently for 'Git of the Year'. I'm aware it would have been completely anachronistic for Mary to chuck her no doubt expensive Sauvignon Blanc right in his face at dinner, but I was totally gunning for it. However, whilst Lord Grantham may have given a wonderfully contradictory speech (remember when he was campaigning for Mary to inherit the estate?), it was left to the deceased Matthew to steal the show in the most convenient plot development since Miss Lavinia Swire felt a bit ill.

From the moment Lord Grantham began reading the letter, I knew it was going to be a moment of pure Downton gold. And it did not disappoint. "I suddenly realised..." Did you now Matthew? How very prescient of you. Speaking positively, whilst it may have been hilariously convenient, it also wrapped up the whole issue of Mary's inheritance neatly and quickly because I don't think anyone could have been bothered with another Series One entail plotline running all the way through it. On the other hand, it was terrible writing. Just terrible. Nuance has never been one of Downton's strong points, but if there was ever a moment for it, that was it.

It was left to the below stairs crew to get the nice storylines this week as Carson finally came around to forgiving his old friend in a lovely station-set scene with Grigg (though I was half-expecting a 'Daddy! Oh my Daddy!' moment a la Jenny Agutter). The story of Alice was quaint stuff, the type of story you'd expect to hear over tea and scones and therefore proper Downton stuff. I also enjoyed the Molesley-Mr Baaates storyline though Thomas' meddling with the Baaates family is getting a tad dull. Where's Miss O'Brien when you need her?

Oh and Edith is well on her way to become 'the other woman'. Brilliant. There's never a dull moment is there?

- Becky

You can read Becky's review of the previous episode here.

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TV REVIEW: Downton Abbey - Episode One

First of all a quick recap; if you remember the Christmas Special, one that was lacking in cheer or you know, anything that happened, there were a few clues as to where this series was headed. The big issue, and practically the only thing that happened in the special, was Matthew Crawley's rather horrific and graphic death at the hands of bad driving and an ill-timed fork in the road. Oh the symbolism. Mary had just given birth, Branson had to deal with advances from a wayward housemaid and the family had visited Scotland and Miss O'Brien manoeuvred her way into a new job. I can't really remember if anything else happened, but if it did, it's probably not important. That or one of the characters will tell us explicitly what we need to know.

Was Downton always so obvious? So neon-lit "here's an upcoming plot point/historical reference/danger on the horizon" flashing neon sign obvious? I mean, I know it's always been less than subtle and that's part of its charm, but this episode just seemed determined to whack you across the head with one of Mrs Patmore's copper ladles every time something significant cropped up. Some of my favourite examples included "he's in the workhouse and yes, it's every bit as something you'd read in a Charles Dickens novel". Thanks Mrs Hughes. There was also Edith's speech about how everyone hated the Germans, Mrs Patmore's statement about her being the old and Daisy being the new and just about anything that the Dowager Countess said. 

This may have just been me noticing how obvious everything was in this episode, but it did just seem a tad more telegraphed than usual. Like I said, it's always been par for the course in Downton and Julian Fellowes throws more than enough at us in this series opener to keep us occupied. Grieving was the major theme in this episode with Mary moping around and doing even less emoting than usual, Isabel Crawley was doing something similar and Branson was doing his level best with Carson and Mrs Hughes to get everyone back and functioning again. Branson (I should really start calling him Tom soon) and Mary look like they're set to be quite the team and I'm intrigued to see where that goes.

Below stairs, we had Thomas doing his usual scheming. With Miss O'Brien gone, I was worried that Thomas wasn't going to have to scheme all too much, but it's good to know he's back with a sneer and some casual manipulation. Only this time, it turned out he was actually right about the villainous Nanny West who happened to casually abuse baby Sybby when she thought no one was looking. Elizabeth McGovern's Cora was particularly fierce in this moment and I liked seeing her do something other than placate the rest of the family, which she seemed to do a lot last time around. 

The dynamic between Daisy and Mrs Patmore continues to be one of the highlights with this episode seeing them get to grips with an electric whisk. Also, Mrs Hughes and Carson continue to dance around the romantic question, but let's face it, if this series doesn't end with at least one of them acknowledging the other, Fellowes may have a mutiny on his hands. The rest of the romance in the episode was confined to the Ivy-Alfred-Daisy-Jimmy love quadrangle continues but I must admit, I switched off whenever they came on screen. I don't know enough about the new people to care just yet, but I did like the Mrs Patmore reveal.

We also seem to be getting a more feminist angle going in Downton this time around and not anachronistically considering we are now in the 20s. Though we're yet to hear a big hint of rebellion, Edith is well on her way with the prospect of 'living in sin' with her publisher chap. Oh just go for it Edith, you deserve it. Even if it does mean moving to Germany. Elsewhere, there's another hoo-ha about Mary's inability to inherit because of her gender, not to mention the return of the manipulative Edna Braithwaite to Downton. I love MyAnna Buring, she's a great actress, but Edna was a terrible character in the Christmas special and I'm not holding out much hope for the future.

Largely the usual Downton intrigue, if just a little more obvious about its context than it ever seemed before. I didn't really miss Matthew, something which I'd never thought I'd say, but at least we still have Branson.

- Becky

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TV REVIEW: Downton Abbey - Episode Eight

Once again, a series of Downton Abbey comes to an end with a slow-burning yet very entertaining and heartwarming episode that takes in sexual politics, baby problems, the Charleston, a madwoman in an attic asylum and a rather jolly cricket match.

Downton Abbey finales have always been overly dramatic affairs, in keeping with the series naturally but always going the extra mile to make you shout 'WHAT?' at the screen whilst throwing that cup of tea you made in the advert break all over yourself. In the first series, it was the breakdown of the Mary and Matthew relationship, Cora's miscarriage and the outbreak of World War One whilst the second saw Bates arrested, the further breakdown of Mary and Matthew's relationship and Sybil running off with the chauffeur. The third finale had a lot to live up to but whilst it wasn't necessarily as dramatic or as shocking as what had come before, it was a fantastic end to the series with every required ingredient that is loved about Downton.

After the kiss last week, Thomas (Rob James-Collier) finds himself preparing to leave Downton as Carson (Jim Carter) is blackmailed into forcing him to go without a reference by spurned footman James (Ed Speleers) who is in turn having his strings pulled by Miss O'Brian (Siobhan Finneran). Thomas finds himself with an unlikely ally in the returning Mr Baaates (Brendan Coyle) who works with Mrs Hughes (Phyllis Logan) and Lord Grantham (Hugh Bonneville) to ensure that the former valet gets to remain at Downton. Meanwhile, Matthew (Dan Stevens) and Branson (Allen Leech) push on with their plan to reform the estate, much to the Lord's chagrin and furthering the best bromance on television at the moment. Mary (Michelle Dockery) is taking herself off mysteriously to London at regular intervals with only Cora (Elizabeth McGovern) really knowing what's going on. The Crawleys take on babysitting duties for a relative, the wayward Lady Rose (Lily James) who is singlehandedly responsible for the lead-in to one of the funniest lines of the series. Edith (Laura Carmichael) continues to write her column but discovers a secret that might change her relationship with her editor and the Dowager Countess (Maggie Smith) and Mrs Crawley (Penelope Wilton) manage to find a suitable position for Ethel (Amy Nuttall) to start again. And then there's a cricket match!

That's a lot of plot but with an hour and a half runtime, Downton had a lot of stuff to get through and each narrative strand was just as entertaining as the next and although, as with the previous episode, the resolutions were pretty much a given, the real strength of this instalment was the writing. Maggie Smith is usually the actress gifted the most sublime one-liners but several characters got their moment to shine. Phyllis Logan's Mrs Hughes has always been the dependable sort and her reaction to Thomas' indiscretion were wonderfully non-stereotypical. The reaction of all the characters to Thomas in fact was a great running joke; apparently, his sexuality wasn't as well hidden as he probably thought it was. The best line of the night though had to go to Dan Stevens for his impeccable comic timing when the flappable Matthew came face to face with a 1920s jazz club: 'It's like the outer circle of Dante's Inferno'. Mr Stevens, I salute you.

Some of the specific plot points were also more to do with placing foundations than bringing certain storylines to a close. With Mary and Matthew now all biologically ready and raring to baby-make, I'd imagine that it won't be too long before Sybil Jr. has a cousin. Likewise, I don't think it will be the last we see of the Lady Rose either though she was more than a little irritating. Then again, with Sybil gone, the family needs another rebel in their midst. Perhaps the most intriguing though was Downton Abbey Does Jane Eyre in the form of the Edith/Editor narrative. Although she's initially shocked that her potential beau has a wife, the revelation that she's more Bertha Mason than Mrs Beeton means that Edith may be heading into another potentially controversial relationship. Let's hope this time, she doesn't get left at the altar (though of course if they continue to follow the Jane Eyre path, she'll do the altar-abandoning...).

It may not have been as dramatic as its fellow finales, but it was all the better for its gentler pace and lack of major revelations. After some of the truly sad moments in this series, Sybil's death for example, it could have gone from bad to worse but I think that taking the show in a more positive and light-hearted direction was an excellent choice for the final episode. I'd previously thought that Downton could not be any more English if it tried, but then of course they decided to hold a cricket match. All it needed really was the mention of a ginger beer and we'd have some walking stereotypes on our hands (well, more so than we do already). The cricket match could have gone on for a bit longer in my opinion as it would have been hilarious to see Lord Grantham get all competitive and bluster across the wicket. The last-minute police confrontation felt like a very strange after-thougt; more of a quick tying up of loose ends than an actual, credible development. But the status quo is (sort of) restored and it looked like the House might finally beat the Village. Jolly good show indeed.

The final slow motion shot of Lord Grantham, Matthew and Branson going in for a hug was unbelievably cheesy but I could not help having the biggest grin on my face. Rather than eagerly awaiting the Christmas special for a resolution to a cliffhanger, I'm going to be looking forward to it as a regular televisual comfort blanket because when all is said and done, that it is exactly what Downton Abbey is and should be.

- Becky

You can read Becky's review of Episodes Six and Seven here.

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TV REVIEW: Downton Abbey - Episodes 6 & 7

In the aftermath of Sybil's sudden demise, Branson and Lord Grantham are at loggerheads, Matthew and Lord Grantham are at loggerheads and in fact, Lord Grantham falls out with just about everyone. Cora seeks to blame him, the Dowager Countess goes into damage repair, Bates is officially in the clear and Edith takes steps to escape her solitary lifestyle. 

After the monumental upheaval that was the fifth episode ,which saw one of the most beloved characters leave the show, Downton Abbey seems to have scaled back quite a bit. Episode Six continued in the excellent vein established by its predecessor and was thankfully not as weepy or traumatic. Maggie Smith has never given a bad performance in the show and here, she was excellent again, attempting to solve the marital difficulties between Cora and Robert. 

Whilst it handled it excellently, the episode was very much a foundation for the conflicts that are to arise for the remainder of the third series. They say you should never talk about religion at a dinner party though Lord Grantham was sort of asking for it by inviting the local Reverend round in an attempt to convince Branson that the christening should not be a Catholic ceremony. However, he failed to understand the power of the Crawley women en masse and the poor Reverend found himself made a complete fool of by the girls and Branson. It was a great scene, written well for the characters and allowing the Dowager Countess to once again steal the show.

Elsewhere, Matthew is still campaigning for his estate reformation though much of it is falling on the deaf ears of Lord Grantham who appears to be doing the 1920s equivalent of sticking his fingers in his ears and repeating 'la la la' at a loud volume until Matthew goes away. Though of course Matthew is right, because he's Matthew and he's awesome and I'm getting carried away again. Nevertheless, there's still an issue here and the treatment of the estate is fast becoming the most symbolic presence of the twentieth century in Downton. Whilst Lord Grantham represents the stoic attitudes of his predecessors, Matthew's middle-class pragmatism demonstrates the need for change. It's always been an interesting dynamic and one that is being continually brought to the fore after the first episode's insistence of the oncoming modernisation of the post-war era.

In Episode Seven, Branson's brother comes to stay and causes a bit of a stir as Branson decides that he will go reside with him in Liverpool with Sybil Jr while Lord Grantham huffs and puffs a bit. Again. Matthew locks horns with Lord Grantham over the management of the estate and manages to offend the existing estate agent while eventually winning the argument. Edith goes on a date with her new editor as she prepares to write her column and finally looks as if she's going to enjoy herself for at least a little while.

For a series that has been pretty great so far, the penultimate episode was actually pretty lacklustre in its predictability. The central conflicts that had been developing in the previous episode just sort of fizzled out, without any real explosion or argument. The issue of the state in particular had practically signposted episodes earlier that it was going to be the way in which Branson stayed at Downton Abbey. The christening was always going to go Branson's way, as predicted by Mary, and additionally, the return of Mr Bates had all the dramatic tension of a damp newspaper seeing as it was inevitable anyway.

One plotline that still has great potential though is the developing relationship between footman Jimmy and everyone's favourite panto villain, Thomas. Although we predicted in an earlier review that their relationship might be of a romantic nature, Julian Fellowes is still toying with us. The scene between Thomas and Mr Carson in the aftermath of the kiss was excellent from the knowing way that Carson handled the issue to James-Collier's performance. He's long been one of the standout actors and it is always good to see him given something else to do other than plot and scheme with O'Brian. It also offers Downton an opportunity to explore the issue of homosexuality in that time period and how vilified it was. But then again, that kiss was not necessarily one-sided... Could it be a case of Jimmy protesting too much or is he genuinely so disgusted by Thomas that he'll get him fired?

Another plus point of this episode was Hugh Bonnville's performance; despite all of his incredulity, Lord Grantham is forced into giving way on just about everything he disagreed with in previous episodes this time and Bonneville is managing to make his performance thankfully more than one note. The christening in particular was a fine exhibition of both his dramatic and comedic skills and was a nice, gentle scene with which to end the episode.

Other than the final scenes between Jimmy and Thomas, which could lead to some interesting issues being presented, there just seemed to be a lack of spark in the episode this time.

- Becky

You can read Becky's review of Episode Five here.

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TV REVIEW: Downton Abbey - Episodes Two and Three

Did you really think that we'd left behind all the ridiculous and convenient plot developments in the last series of Downton? Well think again, as these two weeks take us through a cancer scare, an attempted shanking, a wedding and (gasp!) the potential loss of Downton Abbey. But never fear, gentle viewers, Julian Fellowes and his amazingly convenient plot twists are on hand to save the day!

If that opening paragraph makes it seem as if I'm laying into everyone's Downton Abbey this week, I can assure you it is only gentle mocking born out of my deep affection for this show. Even the most diehard Downton fans have to admit, the shocking revelation that Matthew (Dan Stevens) was actually in the clear to bestow his money on Lord Grantham (Hugh Bonneville) was never in any doubt. I must admit though, I didn't see the whole letter plot twist, I just expected Matthew to get worn out from all of the not-so-subtle insults from Mary (Michelle Dockery). But we can all rest easy; even though Mary's and the Dowager Countess' (Maggie Smith) hilarious plans failed last week with Martha (Shirley Maclaine), Matthew was once again on hand to save the day!

The second episode, despite some wonderful one liners from Dame Maggie, was the more lacklustre of the two and served more as a lead-in to the big moments in episode three, particularly concerning Mrs Hughes (Phyllis Logan). Ever the stalwart right-hand woman of Mr Carson (Jim Carter), the housekeeper's strength was tested across these two episodes after discovering that she might have cancer. It isn't one of the strongest plot-lines the show has come up with but it was a chance for Logan and Lesley Nicol's Mrs Patmore to shine. Aside from the lack of originality, it also wasn't the best source of tension because we know that death in Downton is a rare occurence, utilised only when it is incredibly convenient for the existing cast members for people to die (see Patrick Crawley, the long-lost heir or Lavinia, the woman-shaped blockade to the Mary-Matthew marriage). Therefore, Mrs Hughes was NEVER in any danger and now it looks like a possible romance blossoming between her and Mr Carson. D'awww.

Speaking of romance, poor old Edith (Laura Carmichael) was put through the emotional wringer yet again in these episodes as her off-on-off-again romance with Sir Anthony Strallen (Robert Bathurst) heads towards the altar. Or does it? Edith has long been the curmudgeonly spinster of the Crawley clan, spitefully alerting people to Mary's involvement in Mr Pamuk's untimely demise which promptly led to Mary's first destruction of the Edith-Strallen relationship. After the second episode saw the pair engaged, despite the age difference and sum total of only three arms, the third sees the wedding approach. As Edith gleefully observes, for once, an event at Downton Abbey is all about her. Though not for long, as Strallen decides to leave her, rather ungallantly at the alter (in a truly gorgeous wedding dress). I'm developing a theory that Julian Fellowes doesn't like Edith because the poor girl never has a happy ending. Maybe we should all start a campaign? Happy Ending for Edith please!

Because I've covered two episodes here (sharing many of the same themes), I'm going to deviate slightly from the format now and give you a rundown of my other noteworthy moments:

• - Anna (Joanne Froggatt) continues to search for the evidence to prove Bates' (Brendan Coyle) innocence though it's looking a little unlikely. It also continues to be a bit of a yawnfest. 

• Matthew and Branson (Allen Leech) develop their bromance over a game of billiards. Just lovely. Next time, please show the billiards match. 

• - The new, freakishly tall footman (whose name I still don't know) seems to be attempting to cop off with any female member of staff after the American lady's maid in last week's episode and then turning his attention to Daisy (Sophie McShera) and Anna.

• - The war between O'Brien (Siobhan Finneran) and Thomas (Rob James-Collier) starts to heat up as she steals the dress shirts he's supposed to be looking after, whilst he tells Molesley that O'Brien is about to leave Downton. After seeing the two of them attempt to bring down everyone else in their path, it's great to see the pair turn against each other.

Next week looks like a focus on the runaway romance of Sybil (Jessica Brown Findlay) and Branson as the preview featured the former chauffeur in tears and a lot of rain (which we all know means sadness and tragedy). Whilst it may be predictable, over-the-top and ever so slightly daft, it's still cracking entertainment and I'm enjoying the emotional upheaval.

- Becky

You can read Becky's review of the first episode here.

You can follow Becky on Twitter @beckygracelea

Or follow her blog here beckygracelea.wordpress.com

TV REVIEW: Downton Abbey - Episode One

After what seems like an agonising wait after the awesome Christmas special that saw Matthew and Mary FINALLY get together, Downton Abbey returns to our screens with just the right amount of melodrama for some classic Sunday television.

The last series veered from the sublime to the ridiculous so fast it made your head spin, which is no bad thing but let's face it, that was the most convenient outbreak of Spanish flu there has ever been. With it's Roaring 20s setting, the third series might be a little more grounded in some vague reality. Then again, why let real life get in the way of some bally good melodrama? A whole hour and a half of Downton Abbey packs in a hell of a lot of plot and thankfully Julian Fellowes' script keeps it zipping along at a fair pace. It's not for the first-time viewer though as there isn't really any major exposition to explain how everyone got to where they are apart from a few oblique references.  The first episode kicks off some time after the Christmas special with all of Downton gearing up to possibly the most anticipated marital event since Kate Middleton rocked up to Westminster Cathedral in her lacy finery.

Naturally, the course to the oncoming nuptials does not run smooth. Lord Grantham (Hugh Bonneville) is called away to London to discover that he's practically lost all of Cora's fortune (Elizabeth McGovern) and Downton is under threat (thus providing the overall narrative anxiety for the series). Meanwhile, a pregnant Sybil (Jessica Brown-Findlay) and her husband, former chauffeur Tom Branson, (Allen Leech) return to Downton Abbey to face some awkward dinner conversation about coat-tails and Irish nationalism. Bates (Brendan Coyle) has a new, possibly (read definitely) dangerous cell-mate while Anna (Joanne Froggatt) continues to search for the evidence needed to free him. A new footman has started work leading to more plotting from Thomas (Rob James-Collier) and O'Brien (Siobhan Finneran), though for once they are not on the same side. Daisy (Sophie McShera) revolts against Mrs Patmore (Lesley Nicol) whilst Carson (Jim Carter) continues to struggle to maintain order. And I've not even covered half of it.

I should probably warn you in advance of this review that I adore both Matthew and Branson and there may be some slight swooning when discussing their roles in the first episode. I can't help it. One of them has the most amazing blue eyes in the world and the other one has a positively gorgeous Irish accent. Leech in particular excelled here, giving Branson an awkward charm and defiance in the face of the Crawleys. His scene with the Dowager Countess and Mrs Crawley forcing him into a mourning suit was a comic delight whilst his angry drunk Irishman acting was an excellent example of a horrendously awkward situation. The relationship between Matthew and Branson was also a great aspect of this episode with the Crawley heir taking it upon himself to make the former chauffeur feel as welcome as possible in the midst of all the class divides. Stevens and Leech sell the oncoming bromance well and the brother-in-law partnership versus the Crawleys should be an interesting development. It all fits into the wider theme of change that comes with the 20s setting and the various clashes between old and new.

Speaking of clashes, the publicity all centered on the meeting of Maggie Smith's Dowager Countess and Shirley Maclaine's Martha Levinson and it did not disappoint. From the first awkward hallway meeting to the constant attempts to thwart each other over desserts, the two battleaxes are already engaged in a one-liner competition that looks set to go on all series. Smith has long been the fan-favourite for her comedy moments but it is in the more dramatic ones where she really soars; her revelation that it was her money that enabled Branson and Sybil to attend the wedding was understated yet perfectly pitched. If reports are true and Maggie Smith is to leave the series, her presence and acerbic wit will be sorely missed.

Meanwhile, Bates and Anna continue their relationship in the inconvenient location of the slammer. The Bates-Anna romance had me gripped throughout the previous two series, but I can't help thinking that it is starting to run out of steam. Perhaps the circumstances don't help; after all, you can't really have soaring romantic ups-and-downs if one party happens to be stuck in prison, but it all feels a little stale. Now that we know Bates' mysterious past was to do with his psychotic wife who tried to do everything to derail his new relationship and we know that he didn't commit the murder, there's no enigma left to uncover. Also, it's Downton Abbey; everything turns out neatly so therefore we know that, at some point, Bates is going to make it out of prison and return to Downton. There's no tension here anymore, which is a shame because it was previously one of the most gripping narratives.

It's a small gripe though in the scope of the wider episode which finally saw Matthew and Mary get married, despite a couple of hiccups along the way (solved by Branson - did I mention that he's awesome?). It's the moment most people have waited for since halfway through the first series and even those naysayers who disliked the pair must have cheered ever-so-slightly when they got to the church. It was a great end to a fantastic start to the new series and I cannot wait to see what Fellowes and the gang have in store for us. Sunday nights are officially all booked up.


- Becky

You can follow Becky on Twitter @beckygracelea
Or follow her blog here beckygracelea.wordpress.com